BIO CONTACT EXHIBITIONS PRESS + PUBLICATIONS SHOP
BIO-INTEGRATED DESIGN COLLAGE DRAWING GLASS INSTALLATION PAINTING POETRY SCULPTURE
the QUE(E)RY WET PAINT The Cut & Paster's
Nathanael Gregory Myers

SCULPTURE

JCC.4.33_CloseUp.jpg
 
 

FIELD NOTES

Featured
art.if.act. It comes down to the impetus and follow-through of action. The war of art. Or is it the fear of art? acting.as.art. What’s the relation of painting and movement? How do I harness the physicality of dance to a two-dimensional object?

art.if.act.

It comes down to the impetus and follow-through of action. The war of art. Or is it the fear of art? acting.as.art. What’s the relation of painting and movement? How do I harness the physicality of dance to a two-dimensional object? Heirloom of Toole. Artful larceny as a memoir for past lives of a troupe of dancers. Molded memories of art warehouse floors and ballet classes. Archive of movement. Artifact of Artifact.

Gun Powder Pairing the beautiful and the desolate, I pay homage to the passing of my grandmother and speak to the fortitude of the victims and victors of cancer.

Gun Powder

Pairing the beautiful and the desolate, I pay homage to the passing of my grandmother and speak to the fortitude of the victims and victors of cancer.

JC.4.33. The mixed-media piece, JC.4.33. , was featured in my first solo exhibition 1.48.116 , drawing parallels to the John Cage silent piano piece and the quieting silence of being the closet for the majority of my life. It has also been

JC.4.33.

The mixed-media piece, JC.4.33., was featured in my first solo exhibition 1.48.116, drawing parallels to the John Cage silent piano piece and the quieting silence of being the closet for the majority of my life. It has also been within my first museum exhibition for the 2018 Tucson Museum of Art Biennial. First of my collection of found objects, paired with rouge stretcher bars to bring contrapposto balance.

Lemmon In a similar reduction of form for my first gallery show, ‘ Lemmon’ , challenges what is designated as stretcher bars for a canvas. Using shipping platforms, as a representation of movement and distance, the wood slats pervert the stret

Lemmon

In a similar reduction of form for my first gallery show, ‘Lemmon’, challenges what is designated as stretcher bars for a canvas. Using shipping platforms, as a representation of movement and distance, the wood slats pervert the stretch of the canvas. Similarly, the embroidered twined copper crudely manipulates the canvas to construct a mountainous landscape. Paired with ‘Mount’ as a geographical pun, ‘Mount’ is mounted to the wall while ‘Lemmon’ is exhibited on the ground. This challenge of traditional exhibition practices led the way to ‘Eat Peach’.

Sunday Afternoon Of a shared material as the installation Jesus Jenga, this construction of bricks sourced from my parent’s house both challenges and becomes an afterthought to the viewer. The biggest reoccurring question was If it is okay to

Sunday Afternoon

Of a shared material as the installation Jesus Jenga, this construction of bricks sourced from my parent’s house both challenges and becomes an afterthought to the viewer. The biggest reoccurring question was If it is okay to touch and walk on.

<>> a collection of headpieces made for the dancers of <breathe>> . Manipulated plastic used for radiation treatment was treated and formed to create the otherworldly and sonic waves as if to give heightened senses.

<>>

a collection of headpieces made for the dancers of <breathe>>. Manipulated plastic used for radiation treatment was treated and formed to create the otherworldly and sonic waves as if to give heightened senses.